Kendra Steiner Editions

January 31, 2009

6 more KSE chapbooks sold out

Filed under: Uncategorized — kendrasteinereditions @ 2:20 pm

Six more KSE chapbooks from late in 2008 are now sold out and deleted from the catalogue:

#115, various artists , “KSE LAST POEMS” collection ;

#121, BILL SHUTE, leaf-blowers (sound library series, volume 37 ) ;

#114, JIM D. DEUCHARS, allegheny rising ;

#124, MICHAEL JACOBSON & BILL SHUTE, a gift of stars ;

#123, BILL SHUTE, we’ll all get by… (sound library series, volume 38 ) ;

#112, MK CHAVEZ / JOHN SWEET, next exit: nine .

The message here is order quickly after release or you’ll miss essential chaps….and you’ll have to pay $10-$12 on the collectors’ market…IF you can find them.

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So what’s available right now?

#128, BILL SHUTE, hours past sunset (sound library series, volume 39) ;

#119, A. J. KAUFMANN, satori in berlin (x-berg songs) ;

#122, LUIS CUAUHTEMOC BERRIOZABAL, still human ;

#118, BILL SHUTE, venetian sage ;

#125, BILL SHUTE, marking time ;

#116, MISTI RAINWATER-LITES, next exit: ten ;

#34 STUART CRUTCHFIELD, shack simple (a tribute to Lew Welch—reprint).

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Thanks for your support.
Remember, there’s a new KSE address:

Bill Shute, Kendra Steiner Editions, 14080 Nacogdoches Rd. #350,
San Antonio, Texas, 78247.

$ 4 each or 3-for-$10 in the US postpaid, check payable to Bill Shute.

Outside the US, $5 each postpaid, payable through paypal.
Write to
django5722 (at) yahoo (dot) com and request an invoice.

Free Ronald Baatz multi-poem broadside from Concrete Meat Press with the first six orders received.

January 24, 2009

Bill Shute interview on Virgogray Radio now available as podcast

Filed under: Uncategorized — kendrasteinereditions @ 10:42 am

I had a nice chat with Michael Aaron Casares on Virgogray Anonymous Midnight Poetry Radio last night, and the show is now available as a podcast for all to hear whenever it’s convenient. Please note that the music and intro are at a louder volume than the actual show, so adjust volume settings accordingly.

For the record, I read the following things during the one-hour interview:

“Marion, Texas” from NEXT EXIT: TWO (KSE #56) ;

“Mirror” from SEARCH (KSE #25) ;

and the entire chapbook SLASH & BURN (KSE #86).

Click on the link below, then go down to Show #14 (January 24), click on that title, and the show should begin playing for you. Hope you find it interesting and worthwhile.

http://www.blogtalkradio.com/vgpsa

January 23, 2009

Bill on Virgogray Anonymous Midnight Poetry Radio TONIGHT!

Filed under: Uncategorized — kendrasteinereditions @ 11:34 am

I’ll be guest poet tonight on Virgogray Anonymous Midnight Poetry Radio(Friday night/Saturday morning) at  midnight Central Time. There will be an interview and I’ll be reading from recent works such as LEAF BLOWERS, old favorites such as SAN ANTONIO GOOD FRIDAY, and my full-length works such as TWELVE GATES TO THE CITY.
Grab a beer (or an herbal tea or whatever gets you through the night) and check it out.

http://www.blogtalkradio.com/vgpsa

I’ll have a link to the archived podcast of the show available Saturday.

Thanks.

January 21, 2009

new KSE mailing address, effective immediately!

Filed under: Uncategorized — kendrasteinereditions @ 5:00 pm

Throw out the old Pat Booker Rd. mailing address that’s on 6500 earlier poetry chapbooks!  My private mailbox facility was closed down by federal authorities, and I’ve had to scramble for a new mailing address since I don’t want any disruption of orders and mail.

So here’s the new one, which will be on all books printed as of today:

BILL SHUTE

KENDRA STEINER EDITIONS

14080 Nacogdoches Rd. #350

San Antonio, Texas   78247  USA

January 18, 2009

Hours Past Sunset (in honor of Obama’s inauguration)

Filed under: Uncategorized — kendrasteinereditions @ 4:56 pm

In the immortal words of Joe Dallesandro, “I work cheap, but I don’t give it away.”  However, I’m going to violate that policy once to post the final poem from my new chapbook HOURS PAST SUNSET since it deals with Barack Obama and probably captures the feelings of a lot of us on the left who welcome a Democrat in office but are much closer ideologically to a Nader or a Camejo. We’ve heard the progressive rhetoric before from those who want our vote but have gone on to pursue the same corporate politics once in office, though perhaps with a more human face. I wish Senator Obama well, probably the first well-intentioned president since Jimmy Carter. After the dismantling of the New Deal under Reagan and Clinton, and then the bankrupting of the nation and the trashing of our image internationally by Bush Junior (old-school Country Club Republicans like his Dad seem almost benign by comparison!), Obama will be a welcome relief. But his having sold out to the large drug companies long ago and his wanting to continue the occupation of sovereign foreign nations and his offering of weak positions on issues such as GLBT equality do not really inspire confidence. Still, he’s on our team until he proves otherwise, and I wish him well.  It’s now hours past sunset…

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HOURS  PAST  SUNSET

 

      Hope, Incorporated

          once  rang  my doorbell

               (while it still worked)

                    in  the  late  afternoon,

                        grins and homilies  and  sleight-of-hand

                             filled the doorway

 

(like tainted Little Debbie peanut-butter cakes

lined up on a card table       after the Girl Scout meeting)

 

                            from an Arkansas  fertilizer salesman  

                                    looking for head   and for swag

 

                                promises to sand down

                                          the razored edges of  Babylon

 

                                                            burned  again

 

 

 

    now,

       hours past sunset                        we  are

              miles down the road and without a handbasket    

                                                   &

      Hope’s new spokesperson

          (and one-time president of the Harvard Law Review)

                         knocks     and    waits         

                  and   I   wonder

 

         should   I   answer

              

 

                                       tonight will not swing

 

                                                      but         perhaps

                                                            it   will             move

KSE new and recent releases, mid-late January 2009

Filed under: Uncategorized — kendrasteinereditions @ 4:14 pm

#128,  BILL SHUTE, hours past sunset (sound library series, volume 39) ;

 

#120,  JACK HENRY, empty houses ;

 

#119,  A. J. KAUFMANN, satori in berlin (x-berg songs) ;

 

#122,  LUIS CUAUHTEMOC BERRIOZABAL, still human ;

 

#118,  BILL SHUTE, venetian sage ;

 

#125, BILL SHUTE, marking time ;

 

#114,  JIM D. DEUCHARS, allegheny rising ;
 
 
 
#112,  MK CHAVEZ / JOHN SWEET, next exit: nine ;
 
 
 
#116,  MISTI RAINWATER-LITES, next exit: ten ;
 
 

#115,  various artists , “KSE LAST POEMS”    collection.

January 16, 2009

review: Ballata da un miliardo (1967)

Filed under: Uncategorized — kendrasteinereditions @ 5:43 pm

Believe it or not, some of my longtime readers have been asking me to post some of my old reviews from Black To Comm and elsewhere. Well, I’m too lazy to transcribe those from the yellowing old magazines (although I’d like to make available an edited version of my talk with John Cage someday…), but here’s the first in this series of online film reviews I’ve written over the years. Hope you find it interesting…let me know…

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goofy Italian crime farce, with Ray Danton in great form!, 2 November 2004
8/10

 

The title of the English language TV print I watched of this film is HOW TO WIN A BILLION…AND GET AWAY WITH IT. Imagine a cross between THE GANG THAT COULDN’T SHOOT STRAIGHT and OCEAN’S ELEVEN, if it had starred the Bowery Boys instead of the Rat Pack, and maybe you’ll have some idea about this goofy 60s Italian crime farce. Ray Danton plays both an aging crime boss AND his playboy-wannabe son, and he’s very funny in both roles. And thankfully Danton himself–a man with a fine voice–dubs both voices. This is lowbrow comedy on a Franco and Ciccio or Bowery Boys level, and what holds the film together is the charm and wit of Ray Danton, spoofing the tough-guy roles he played in so many earlier films. No great analysis is needed of a film such as this–if you want a dubbed Italian slapstick crime comedy starring a fine American tough-guy actor who did a number of good films during his European sojourn, then you’ll want to find a copy of this obscure film. My copy was taped off a UHF station in the 1980’s. Why there isn’t a cable network specializing in European genre films, I don’t know, but until there is, I wouldn’t hold my breath expecting to see this on television.

January 15, 2009

review: Bars of Hate (1935)

Filed under: Uncategorized — kendrasteinereditions @ 5:47 pm

fast-moving, low-budget 30’s crime programmer, with large role for Snub Pollard, 27 December 2004
9/10

 

Regis Toomey was one of the most reliable leading men of early 1930’s Poverty Row, and he continued to appear in films and television well into the 1960’s. His friendly persona always made him sympathetic, even when playing an ex-con, and he was convincing in any number of different roles and situations. Here he is paired with the great former silent comedian Snub Pollard, in what must be one of his largest roles of the sound era (along with his roles as sidekick to Tex Ritter), as a pickpocket/safe cracker. Directed by journeyman Al Herman, who helmed many films I’ve enjoyed over the years (Phantom of 42nd Street, and the serials The Clutching Hand, and The Black Coin), for Sam Katzman’s Victory Pictures, BARS OF HATE (an irrelevant title if there ever was one–there is someone behind bars, but he is only mentioned and never seen, although his situation motivates the plot) is the model poverty row action film: it starts out in high gear and keeps moving throughout. This formula still works today–I recently saw CELLULAR with a full theater, and crowd completely ate up a similar combination of non-stop action tempered with light comedy. The films begins with a montage of faces yelling out “stop” and “get him” after Snub Pollard steals a woman’s pocketbook. Simultaneously, Regis Toomey is speeding and starts to evade a policeman who puts on his siren and follows on a motorcycle. Snub breaks from those attempting to restrain him, Regis cuts down an alley, and soon enough the two men are together. It turns out that the pocketbook contains something that various criminals are after, so when Toomey and Pollard find the girl to give her the purse, the crooks are also after her… and the next forty minutes are spent with one chase and escape after another, much of it filmed on the streets of Los Angeles. Fuzzy Knight does a nice job as a bumbling crook assigned to watch Snub Pollard, and Sheila Terry (best known to many for the two westerns she made with John Wayne in 1934) is a perky female lead. While rather loose and spontaneous in structure and feel, this film moves along at a quick pace and never really lets up from the first scene. It’s almost a model of how to make a poverty row action film– if it had more stunts and less dialogue from the leading man, it could be a Richard Talmadge film! I especially liked seeing Snub Pollard being given such a large and significant role. One of the joys of watching 1930s movies is never knowing exactly when Snub will show up in a scene, more often than not it seems unbilled! His many fans should seek this film out. The print I saw was in excellent shape also…it had a lot of splices in the last three or four minutes, but looked like it was shot yesterday.

January 14, 2009

review: Blonde Köder für den Mörder (1969)

Filed under: Uncategorized — kendrasteinereditions @ 6:17 pm

Dean Reed and Fabio Testi in convoluted but entertaining Euro-mystery, 11 March 2005
7/10

 

DEATH KNOCKS TWICE is an excellent vehicle for both leading man Dean Reed (in this film he reminds me of a cross between James Franciscus, Tab Hunter, and the pre-burnout Jan-Michael Vincent), who plays a detective out to solve a murder and robbery while stumbling across other corrupt activities, and for leading hunk Fabio Testi, who opens the film with a semi-nude outdoor love scene and seems to play half the film without his shirt on. If Joe Dallesandro had begun his European career at this point, he would have been great in this part, but Testi plays a sulking hunk well too, and here he is a spoiled painter who lives in a wonderful beach-front villa and sleeps with various women who meet untimely ends. The film may tend to introduce too many characters too soon, and the mystery does not seem so mysterious in the initial reels, but somehow the whole thing chugs along and becomes more exciting in its second half, which features an excellent high-speed car chase on a wet winding country road and some exciting stunts from Reed. There is a superb all-star Euro-trash cast, including Adolfo Celi, Anita Ekberg, Werner Peters, Leon Askin, Nadia Tiller, and Ricardo Garrone (the film was co-written by his brother, Sergio), and direction is handled by the reliable German director Harald Philipp, whose credits include some of my favorite films such as MANHATTAN NIGHT OF MURDER with George Nader as Jerry Cotton, and RAMPAGE AT APACHE WELLS, an adaptation of Karl May’s novel THE OIL PRINCE, starring Stewart Granger as Old Surehand and Pierre Brice as Winnetou. The feel of the film is halfway between some of the later German crime films of the Edgar Wallace cycle, and some of the earlier proto-giallo films of the mid and late 60s. One wonders if Dean Reed viewed this film as a critique of capitalistic decadence (which it certainly is, although that may be unintended) or just a good leading role to give the Italian period of his acting career a shot in the arm. Either way, he handles himself well, looks great, and has charisma to burn. DEATH KNOCKS TWICE (the title will make sense when you see it) is not a must-see film, but I’m glad I watched it again, and the combination of director and stars make it desirable to the fan of European genre-films. Also, Dean Reed was not that prolific of an actor and some of his films have never circulated in English-language versions (to my knowledge), so anything that can be found is worth watching. My copy was taped off a TV station in Aruba back in the 1980’s. A letter-boxed, restored version would certainly be welcome!

January 12, 2009

Luis Cuauhtemoc Berriozabal, STILL HUMAN (KSE #122), now available!

Filed under: Uncategorized — kendrasteinereditions @ 8:43 pm

STILL HUMAN is Luis Cuauhtemoc Berriozabal’s 5th chapbook for Kendra Steiner Editions. The Los Angeles-based poet, widely published in the alternative poetry world, is one of the most respected American poets among his peers, and once again he’s brought forth a collection that is unlike his past chapbooks yet immediately recognizable as Luis.

In the last year, Luis has spent much time studying the work of Neruda, Valery, Hikmet, and Vallejo, and the quiet authority and lyrical richness of their work—-never forced, never false, never pretentious—has complemented Luis’s strengths. He’s never been in better form.

The title poem, which opens the collection, starts off with almost cliched images of spring and birds, but soon after, once we’ve put down our guard as readers, the whole thing goes horribly wrong and we realize we are in the head of the ultimate unreliable narrator, as one would find in the works of Poe. Yet this speaker is, in his own way, somewhat heroic, facing a struggle, and despite it all, he is “still human.” As we need to remind ourselves from time to time that we all are.

The drudgery of the daily work world, of the mind-numbing American society and the soul-crushing world of L.A., are balanced with the positivity of a man who has seen the void and returned to tell about it. There’s no cheap irony or un-earned cynicism in the works of Luis Cuauhtemoc Berriozabal. But there’s always a beautiful lyric quality, an effortless flow, a hallucinatory clarity, a quiet authority that pulls the reader in, a calm in the center of the storm. I never thought I’d encounter any artist who could merge aspects of David Lynch’s and Frank Capra’s worldviews, but the truly significant artists have always embraced and transcended opposites, haven’t they.

8 new poems from Luis Cuauhtemoc Berriozabal. Only $4 postpaid in the US, and $5 overseas. An edition of 49 hand-numbered copies, 20 of which are already gone. Act now.

Luis’s previous chapbooks for KSE are

WITHOUT PEACE (KSE #59)

KEEPERS OF SILENCE (KSE #82)

NEXT EXIT: SEVEN (w/ Ronald Baatz, KSE #100)

and GARDEN OF ROCKS (KSE #103), all of which are sold out and out of print.

He was also featured in the KSE LAST POEMS  anthology (KSE #115), which is still available as of this writing.

Our other recent new release (besides VENETIAN SAGE) is A. J. Kaufmann’s SATORI IN BERLIN, which I’ll try to write about soon. Why not pick up ALMOST HUMAN, SATORI IN BERLIN, and VENETIAN SAGE in our 3-for-$10 deal (US addresses only).

The next six weeks will see new collections from two Californians, JACK HENRY with EMPTY HOUSES, and MICHAEL LAYNE HEATH with GREY RAGE (DYED). Stay tuned…

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